Framed Memories: The Politics of Recollection in Mana Neyestani’s An Iranian Metamorphosis

This essay examines the graphic memoir An Iranian Metamorphosis, by the acclaimed cartoonist Mana Neyestani, in the context of Iranian diaspora literature, particularly the genre of comics. Neyestani’s book is analyzed for its engagement with the politics of exile literature, and its attempt at challenging a two-dimensional view of the political discourse, in which the ethical boundaries of pro- and anti-government are overtly simple. The essay focuses on the book’s narrative techniques that exhibit a complex awareness of what is anticipated from a representative work of Iranian exile memoir, and the way it negotiates its own narrative politics. To clarify the arguments, several comparative examples are drawn from two well-known graphic narratives by Iranian diaspora authors, Marjane Satrapi’s Persepolis, and Amir and Khalil’s Zahra’s Paradise.     

Dark Nightmare: The Shooting of William Alexander as Canon Scott Saw it

Frederick G. Scott's World War I war memoir, The Great War As I Saw It, contains the sole unofficial eyewitness recording of a court martial execution that we possess. The case of William Alexander 20726 Alexander, William. 20726. Service records. Library Archives Canada, RG24, vol. 2538 HQS 1822, RG 150/acc 1992-93/166/Box 83-992 and RG24-C-1, 1946 Central Army Registry R112-553-X-E, Reel C-5053 90,  [Google Scholar], executed in October 1917, for desertion in the face of the enemy compelled Scott to devote more printed space to it than to the death of his own son, Henry. A discussion based upon a close reading of Scott's memoir and an exposition from archival sources of Alexander's case demonstrates the ways in which Scott evades the case's disturbing implications echoes wider aspects of Canada's early memorialization of the Great War.     

The Dialogical Tradition of Iranian Modernity: Monazereh,Simultaneity, and the Making of Modern Iran

Iranian modernity has chiefly been examined in the context of a dialectical antagonism between “traditionalists” and “modernists”—main categories comprised of related sub-headings such as “Islamist” versus “secular,” “reactionary” versus “revolutionary,” and “regressive” versus “progressive.” Following this approach, Iranian adaptations of modernity have often been (de)historicized as a theater of national “awakening” resulting from the toils of secular intellectuals in overcoming the obstinate resistance of traditional reactionaries, a confrontation between two purportedly well-defined and mutually exclusive camps. Such reductionist dialectics has generally overwritten the dialogic narrative of Iranian modernity, a conflicted dialogue misrepresented as a conflicting dialectic. It has also silenced an important feature of Iranian modernity: the universally acknowledged premise of the simultaneity and commensurability of tradition with modernity. The monazereh (disputation or debate) is the account of the interaction between rival discourses that engaged in opposing, informing, and appropriating each other in the process of adapting modernity. Narrativizing the history of Iranian modernity as the conflict between mutually exclusive binaries overlooks its hyphenated, liminal¹1 The notion of liminality has been theorized in different capacities. The anthropologist Victor Turner first used the idea of liminality in his study of tribal and religious rituals during which an initiate experiences a liminal stage when he belongs neither to the old order nor yet accepted into his new designation. Victor Turner, The Ritual Process: Structure and Anti-structure (Chicago, IL: Aldine, 1969). Turner’s insight has been expanded to investigate the general question of status in society. See, for example, Caroline Walker Bynam, Fragmentation and Redemption (New York: Zone Books, 1992), 27–51. Bynam applies Turner’s notion of liminality to the lives of Medieval female saints, arguing that Turner’s liminal passage applies more readily to the male initiate but does not in most cases reflect the experience of female initiates in Medieval times. Jungian psychology has shifted the focus from liminality as a stage in social movement to a step in an individual’s progress in the process of individuation. Jeffrey Miller, The Transcendent Function (New York: State University of New York Press, 2004), 104. See also: Peter Homans, Jung in Context: Modernity and the Making of a Psychology (Chicago, IL: University of Chicago Press, 1979). Others have used liminality to describe cultural and political change, have prescribed its application to historical analysis, or have made reference to “permanent liminality” to describe the condition in which a society is frozen in the final stage of a ritual passage. Respectively, Agnes Horvath, Bjorn Thomassen, and Harald Wydra, “Introduction: Liminality and Cultures of Change.” International Political Anthropology (2009); Agnes Horvath, Modernism and Charisma (Basingstoke: Palgrave, Macmillan, 2013); and Szakolczai, Reflexive Historical Sociology (New York: Routledge, 2000), 23. Finally, the notion of liminality has been applied to the analysis of mimetic behaviour and to the emergence of tricksters as charismatic leaders, given the association of the figure of the trickster with imitation. Respectively, Agnes Horvarth, Modernism and Charisma (Basingstoke: Palgrave, Macmillan, 2013), 55; and Arpad Szakolczai, Reflexive Historical Sociology (New York: Routledge, 2000), 155. This latter sense seems to apply to the history of Iranian modernity, for the anxiety of imitation was indeed one of its central concerns, and influential figures such as Mirza Malkum Khan (1833–1908) were sometimes perceived (though this was not universally the case) as saviours or tricksters alternatively by different people. On this issue, Fereydun Adamiyat notes how different people had different views of Malkum. The “despotic prince Zill al-Sultan” considered him to be of equal status to Plato and Aristotle. Aqa Ibrahim Badayi’ Nigar thought he was devoid of “the fineries of knowledge and literature (latīfah-i dānish va adab). Minister of Sciences and chief minister Mukhbirul Saltanah Hidayat thought “whatever Malkum wrote has been said in other ways in [Sa’di’s] Gulistan and Bustan.” Fekr-e Azadi (Tehran: Sukhan, 1340/1961), 99. Mehdi Quli Khan Hedayat’s view of Malkum Khan was summed up in these words: “This Malkum knew some things in magic and trickstery and finally did some dishonorable things and gave the dar al-fonun a bad reputation,” Khaterat va Khatarat (Tehran: Zavvar, 1389/2010), 58. Having said that, my use of the notion of liminality, though informed by the theoretical perspectives cited above, diverges from them in one important aspect: liminality as perceived by contemporary theory seems to be based on a pre-/post- understanding of non-liminal statuses accompanied by a desire on the part of the subject to emerge from the liminal state. This approach does not explain liminality as a site for the synthesis of coexisting identities. The munāzirah is precisely the account of such a process. In the context of Iranian modernity, the discourse of tradition was not perceived as prior to the discourse of modernity, as we shall amply see. In fact, European civilizational progress was deemed to have resulted from the successful implementation of Islamic principles. Therefore, while the history of Iranian modernity can still be analyzed as a liminal stage where a weakened old order meets the promise of a new order, it must be understood in terms of the encounter of simultaneous and parallel discourses. It is in this sense that liminality is employed in this study.View all notes identity—a narrative of adaptation rather than wholesale adoption, of heterogeneity rather than homogeneity, of dialogues rather than dialectics. The monazereh is the account of modern Iranian histories.     

‘The best thing ever’: how children's popular culture matters

This paper reflects upon a popular cultural event which was, briefly, for a particular grouping of children in the UK, ‘the best thing ever’: namely the release of the CD-single Reach, by the British pop group S Club 7. I suggest that this event was illustrative of manifold cultural forms and practices which—being ostensibly banal, fun, faddish, lowbrow and ‘childish’—continue to go largely unheralded by many social/cultural geographers. Against this grain, this paper presents three apprehensions of S Club 7’s significance. First, I restate a particular case made via Anglo-American cultural studies that ‘children's popular culture’, ought to be taken more seriously in contexts salient to social/cultural geographers. Second, I detail how the S Club 7 phenomenon existed, practically and materially, and mattered, in some children's everyday lives. Third, refracting cultural geographers' recent apprehensions of affective, evental aspects of cultural practices, I suggest that the pop cultural phenomenon described herein mattered (to those children, there and then) in ways which elude and exceed canonical scholarly habits of writing/knowing popular cultural phenomena.     

‘Please Tell Me Who I Am’: Resisting Media Representation of Arab Masculinity and Violence in Wajdi Mouawad's Incendies

In Wajdi Mouawad's play Incendies (2003), a photojournalist stands offstage, photographing a sniper who, it can later be deduced, is half-Lebanese and half-Palestinian by birth. The sniper sings along to Supertramp's ‘The logical song’ Supertramp. 1979. “The Logical Song.” Breakfast in America, CD. A&M. [Google Scholar], using his rifle as a guitar. But he refuses to allow the photojournalist to capture his silent image. The sniper shoots him, drags him onstage and verbally tortures him before he kills him. The sniper then uses the photojournalist's arm as a microphone and interviews himself in a rock star fantasy to reveal his biography. This scene is examined in detail to tease out the themes of listening and tracing origins and identities in war, exile and diaspora, and leads to questions about the role the media plays in the construction of Arab masculinity as both menacing and marginal. The article argues in conclusions that, as one of the leading voices in Francophone theatre today, Mouawad offers a new variation on engaged theatre, one that frames origins as a process rather than a matter of fact.     

De-censoring an Iranian-American “Memoir”: Authorship and Synchronicity in Shahriar Mandanipour's Censoring an Iranian Love Story

In the literature of the Iranian-American diaspora, the memoir genre has become a predominant lens through which Western audiences “read” contemporary Iran. While many bestselling life narratives have relied on hostage crisis-era tropes of gendered repression and subsequent liberation in exile, new amalgams of style and theme, distortions of perspective, and complicated renderings of the “subject” are now beginning to cross borders. One of these is Shahriar Mandanipour's 2009 novel, Censoring an Iranian Love Story, which this paper examines as an auto-fictional commentary on the memoir genre that both arises from and responds directly to censorship using a self-referential and layered text. Through three central dialectics—ambiguous violence, encoded desire and resistance to diachronic historicization alongside the nation—this paper demonstrates how Mandanipour's auto-fictional and often magical realist attempts elude what Gillian Whitlock terms the transnational “economy of affect” that publicizes, protects and ultimately drives the reception of memoir across borders.     

Postcolonial border crossing

Through a postcolonial lens and based on in-depth interviews with British expatriates who moved to Hong Kong in the first decade after its handover, this paper highlights the contested role of borders in the everyday making and remaking of skilled migration. It draws on Paasi's (2003 Paasi, A. (2003). Boundaries in a globalizing world. In K. Anderson, M. Domosh, S. Pile, & N. Thrift (Eds.), Handbook of cultural geography. London: Sage. doi:10.4135/9781848608252.n33[Crossref] , [Google Scholar]) definition of boundaries to denote that borders are not merely geographical lines but zones of mixing, blending and reconfiguring historically formed material connections, identities and power relations through which contemporary skilled mobility is constituted. The border crossing of skills in Hong Kong and elsewhere is a historically contingent phenomenon whose meaning derives not only from economic forces and social networking but also the accumulated history of the borders they cross. The notion of ‘postcolonial border crossing’ highlights the dis/continuity in skilled migration and integrates social, cultural and economic spheres into the same framework in interpreting skilled mobility.     

Giordano Bruno's Infinitely Numerous Worlds and ‘Lunar’ Literature

This paper analyses Giordano Bruno's dialogue De l’infinito universo e mondi (The Infinite Universe and Worlds), written during his stay in England (1583–85), in the context of his philosophical works and, particularly, within the context of scientific and imaginative writings such as Cyrano de Bergerac's Other Worlds (published posthumously in 1662) and Francis Godwin's The Man in the Moone (1638). The article also discusses the contemporary speculations of Galileo and Kepler regarding the existence of a plurality of worlds and the presence of creatures on the moon and their rapport with humans. Besides the imaginative, fantastic and pseudoscientific elements, attention is also given to religious implications and attitudes, especially in the case of Godwin, who, like his countryman John Wilkins—author of The Discovery of the Worlde in the Moone (1638)–was a bishop and therefore wanted to avoid any controversy with the church.     

The Penumbral Spaces of Nella Larsen's Passing: Undecidable bodies,mobile identities,and the deconstruction of racial boundaries

Nella Larsen's 1929 novel, Passing, is a psychological drama centering around two fair-skinned women. One, Clare Kendry, passes as the White wife of a financially successful racist; the other, Irene Redfield, is a ‘race woman’ living in upper Manhattan during the era of the Renaissance Harlem. Clare and Irene are undecidables, neither White nor Black, fluid subjects traversing the boundaries of race—passing. Passing is an act of insinuating oneself into forbidden spaces by jettisoning former identities. It is as much a transgression of spatial boundaries as it is of racial boundaries. In the novel Clare passes by merely crossing from Black space into White space, and along the way shedding a Black identity for a White one. This paper examines the mobility of identities across racial geographies and how this movement destabilizes notions of race and of raced spaces.

We encounter the world in our bodies, and through our bodies' most exquisitely sensitive sense, our skins, we take the world into ourselves. We have made and remade a world where nearly every experience is shaded and shaped by the color of those bodies, the tones of those skins. (Jane Lazarre Lazarre, Jane. 1997. Beyond the Whiteness of Whiteness: Memoir of a White Mother of Black Sons, Durham: Duke University Press.  [Google Scholar], Beyond the Whiteness of Whiteness: memoir of a White mother of Black sons, 1997, p. 94)     

Breaking Ranks: C. P. Snow and the Crisis of Mid-Century Liberalism, 1930–1980

C. P. Snow's identification of ‘two cultures’, as the literary critic F. R. Leavis pointed out in 1962, represents not an insight but a cliché, one that invites the repetition of further clichés about the origins of a divided culture, the need to bridge cultures, the emergence of a third culture, or the reality of one culture. Yet this recurrent feature of ‘two cultures’ talk does not nullify the concept's value as an object of study, if these discussions are treated as revealing points of entry into foreign historical contexts. This article adopts this approach, unearthing the liberal position that Snow developed as a novelist and critic from the 1930s, that he advanced in the form of a disciplinary lament in The Two Cultures (Snow, C.P. 1959 Snow, C.P. 1959. The two cultures and the scientific revolution. Cambridge: Cambridge University Press. [Google Scholar]. The two cultures and the scientific revolution. Cambridge: Cambridge University Press.), and that — to his distress — increasingly came under radical critique from the mid-1960s. Ultimately, the technocratic liberalism that Snow associated with science at mid-century came to be closer to American neo-conservatism by 1980. By tracking the fortunes of the ideological position that structured The Two Cultures, rather than lifting that text out of its moment in an attempt to engage its arguments today, this article testifies to the abiding value of contextual analysis at a moment when intellectual historians are increasingly inclined to question and even displace it.     

Participant observation in obesity research with children: striated and smooth spaces

This article discusses the value of conducting participant observation in obesity research with children in an Australian community setting. Obesity is highly stigmatized, and the use of activity-based interviews exposed the intellectual and embodied consciousness that children negotiate when they take part in research about food and bodies. Instead of opening up possibilities, interview-based activities can lead to a moral correctness about healthy lifestyles. It was through participant observation, in engagement with what Deleuze and Guattari [1988 Deleuze, G., and F. Guattari. 1988. A Thousand Plateaus: Capitalism and Schizophrenia. London: Athlone Press. [Google Scholar]. A Thousand Plateaus: Capitalism and Schizophrenia. London: Athlone Press] call striated and smooth (or regulated and unregulated) spaces of children's everyday activities, that richer understandings of obesity and children's bodies became apparent. We argue that without participant observation, our understandings of what children say and draw about healthy lifestyles may be limited by the striated spaces in which we conduct our research and the constraints that accompany the cultural politics of childhood and obesity.     

Maroon Archaeology Is Public Archaeology

Researchers of the contemporary past have sought to be instrumental in public dialogue about how artifacts speak to heritage matters relevant to living communities and decision-making polities (Emberling and Hanson, Catastophe!: the looting and destruction of Iraq’s past, 2008; Gibbon, Who owns the past?: cultural policy, cultural property, and the law, 2005; Mullins, Places in mind: public archaeology as applied anthropology, 2004; Renfrew, Loot, legitimacy and ownership: the ethical crisis in archaeology, 2000; Skeates, Debating the archaeological heritage, 2000). This approach has made archaeology a public endeavor that serves the needs of inquisitive researchers, as well as those groups of individuals whose lives may be directly affected by the excavation, analysis, and interpretation of archaeological remains. This paper will broadly assess how the archaeology of Maroons—tribal communities of runaway slave descendants—has affected the application of scholarly research in the former Dutch territory of Suriname, SA. The shift in relevance is due to the Inter-American Court on Human Rights 2007 judgment that allows Suriname Maroons to assert decision-making authority on matters of land management and development in ancestral and contemporary habitat. Vital to this endeavor is, Maroon involvement in archaeological research and more importantly, an overhaul in Surinamese antiquity laws.     

Playing and affective time-spaces

In this paper I have two objectives. The first is to critically explore definitions of playing that have underpinned a great deal of research in children's geography. In so doing I want to highlight some of the assumptions that various authors within geography have made (often implicitly) about the ontological status of playing. This will in turn, lead me to work with, between and sometimes against three authors who have tried to theorize playing. In following this route, I hope to come to some tentative conclusions about the status of playing, which paradoxically will eschew any (strong) ontological commitment at all. This leads to my second objective, which is to explore four particular aspects of playing—embodiment, affect, objects and time-space—to examine how they are interleaved with spaces and spacing. In necessarily situating this work within my research at Hilltop Primary School1 1. This is a pseudonym, used as part of a confidentiality agreement signed with the school. View all notes in the summer of 2001, I hope to show that geographical studies can contribute to definitions of playing as much as playing can inflect certain notions of space.     

Marginalia to a New Aeneis recensa

The text of G.B. Conte's Teubner edition (2009) contains more than 70 divergences from Mynors' edition (1969), apart from a number of orthographica. About 40% of these differing readings can also be found in Geymonat's text (1973/2008 Geymonat, M. 1973/2008. Opera Torino/ Roma [Google Scholar]). Among the rest this reviewer has noted a handful of choices of particular interest and fit to make the new edition a welcome contribution to the long-standing quest for an optimal text of Vergil. Another, more controversial, handful of Conte's preferences is discussed below together with his accompanying information in the app. crit.: 1. 380; 2. 433; 598; 738-739 (with a new conjecture); 3. 685-686; 4. 176; 5. 505; 851; 6. 746; 7. 129; 9. 130; 214; 402; 463; 10. 366 (with a new conjecture); 12. 470.     

Wheel Ceremony

This article addresses the way in which collective ideas of cultural identity in song are appropriated and customised at the local level. More specifically, it examines how the cultural construction of Scottishness in popular song was deployed and mediated in my Scottish/Australian family's song repertoire. [1] ?[1] The substance of this article draws from a recent Ph.D. study of my own migrant family's Scottish song traditions in Australia. It thus considers how song performance served as a vehicle for the formation of family and cultural meaning.     

The Form and Function of Poverty: Examining National Identity through Public Housing Architecture

Abstract

Lawrence J. Vale tells us that “grand symbolic state buildings need to be understood in terms of the political and cultural contexts that helped to bring them into being,” ¹ 1. Lawrence J. Vale, Architecture, Power, and National Identity (London: Routledge, 1992), 3. and that these buildings can help us understand our national identity. But all buildings are part of a broader political and cultural context. Even unimpressive state-funded buildings express meaning about the politics, power, and priorities of a nation. Because these buildings are not purposefully symbolic, their symbolism has the potential to provide a less contrived—though perhaps less appealing—portrayal of the nation in which they are built. Public housing provides an example of this idea. Public housing in the United States is latent with negative meanings that are reinforced and perpetuated by its architecture, siting, and design. This article examines three historical and iconic public housing communities and analyzes the meanings of these spaces through Goodman's four frames of reference—denotation, exemplification, metaphorical expression, and mediated reference—to determine what these spaces, as architecture, say about the American national identity and our relationship with public housing.     

Creating Cultural Identity: Opus anglicanum and its Place in the History of English Medieval Art

The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.     

Establishing a ‘Cultural Base’? The Creation of the Fulbright Program in Portugal

This paper deals with the cultural and educational relations between the United States and Portugal during the Cold War. It is built upon the premise that cultural policies and cultural relations between states are a fundamental part of international relations. History of International Relations, therefore, should overcome an analysis based only upon political and diplomatic dimensions to address what can also be referred to as ‘cultural diplomacy’. The Cold War period, because of its historical features, is particularly relevant to the study of processes of cultural diplomacy and some authors even consider it as the ‘golden age’ of cultural diplomacy.¹1. William Glade, ‘Issues in the Genesis and Organization of Cultural Diplomacy: A Brief Critical History’ in The Journal of Arts Management, Law, and Society (Winter 2010), vol. 39, issue 4, 242. For cultural diplomacy during the Cold War see Jessica Gienow-Hecht, ‘Culture and the Cold War in Europe’ in Leffler, Melvyn & Westad, Odd Arne, The Cambridge History of the Cold War Vol. i, (Cambridge University Press, 2010), 398–419; Akira Iriye, ‘Culture and International History’ in Michael J. Hogan and Thomas G. Paterson (ed), Explaining the History of American Foreign Relations, 2nd ed. (Cambridge: Cambridge University Press, 2004); Richard T. Arndt, The First Resort Of Kings: American Cultural Diplomacy In The Twentieth Century (Virgínia: Potomac Books, 2005).View all notes     

From enlightenment to experience: cultural centres in Helsinki neighbourhoods

The article explores how key cultural policy objectives have been negotiated and realised in the urban cultural centres of three neighbourhoods in the city of Helsinki, Finland. We analyse how the ideological basis and the meaning of the centres for their users are related to the overall rationales of urban cultural policy: Enlightenment, Empowerment, Economic impact and Entertainment (Skot‐Hansen 2005 Skot‐Hansen, D. 2005. “Why urban cultural policies?”. In EUROCULT21 Integrated Report, Edited by: Robinson, J. 31–39. Helsinki: EUROCULT21.  [Google Scholar]). Based on our data, consisting of documents on the centres, interviews with decision makers, producers and other professionals, as well as a survey (N = 814) of the visitors to these centres, we argue that even though the roots of the centres date back to 1970s concepts about the democratisation of culture and cultural democracy, the centres are not old‐fashioned fortresses of outdated cultural forms. On the contrary, as providers of experiences, the cultural centres reflect the latest developments of society.